Linn Kan II Speakers:
Delightfully musical speakers in a small box
The original KAN speaker from Linn Products, Ltd. of Glasgow, Scotland was first introduced in 1980. At that time, the Rogers LS3/5a had already achieved prominence as the shoebox-sized mini-monitor speaker to beat. Did the original KAN outperform the LS3/5a? Not to my knowledge, though some in the British press would have you believe otherwise. In fact, there was a faction whose mission was to proselytize that Linn, Naim and anything British, could trounce any of their imported competitors.
Technical
The KAN II is an updated version said to have been drawn from a decade of research that went into the development of their other speakers, e.g., Nexus, Helix, Sara 9 and DMS. The enclosure measures 12" by 7.5" by 6.5" just like its progenitor. The mechanical integrity however is said to have been much improved. The thickness of the front baffle was increased and the baffle was welded into position using ultra-strong adhesives. In addition, the area of the baffle surrounding the treble was raised bringing the tweeter flush with the grill and the cabinet edges for the purpose of eliminating diffraction problems. The crossover was also redesigned for accurate frequency response using Linn's computer simulation. The new crossover is biwireable and features removable external links that allow easy reconfiguration of the speaker.
The KAN II utilizes the same Linn soft dome tweeter that is used in their Isobarik DMS. This features a totally sealed rear housing that isolates the tweeter from pressure changes exerted by the woofer. The woofer is a KEF B110 driver (the very same one used in the LS3/5a and KEF 101) that has been modified to increase its mechanical integrity.
Overall frequency response is +/- 3db 70 - 20,000 Hz. The typical impedance is 8 ohms, with a minimum of 6.8 ohms. Efficiency is stated at 86db 1 watt/1m. KAN II speakers have been designed to perform best when placed close to the wall. Ideally, the rear of the loudspeaker should be between 2 to 4 inches from the wall and at least 20 inches from any corner.
Sound
In preparing for this review, I listened to the LS3/5a speakers using Target stands, Quicksilver KT88 monos, Audible Illusions Modulus 3 preamp, Pink Triangle Turntable with Sumiko MMT and Promethean Green cartridge, JVC XL-Z1050 compact disk player all connected through an Inouye power conditioner, Kimber 8TC speaker cables and MIT interconnects for two weeks to get my ears attuned to the sound of smaller speakers. I then set up the KAN II speakers just like the manual specified and kept the LS3/5a speakers in the closet.
Let me state at the outset that I was immediately impressed with the KANs. Their selling proposition is simple--provide more of the music. This becomes apparent in their musical presentation. First, the KANs throw a large soundstage that goes beyond the edges of the enclosure. They are nimble, and their agility allows them to portray the microdynamics that are often buried within and glossed over by slower and less adept speakers. The treble is very slightly titled upward so that one catches the steely quality of say the violins. This is not bothersome at all. Their bottom end is tight, with no trace of being woolly or tubby, an affliction I have found with the LS3/5a. Imaging is excellent with vocals and instruments well placed and separated. Lastly, the midrange is both airy and open. The additional clarity adds to the musical suspense and joy of discovery. While not as magical and alluring as the LS3/5a's midrange, they however come in very close with the illusion.
These speakers are chameleons. They adapt to the type of music that is being played. When you want to rock, these babies will rock with unencumbered pace and zest. When you want R&B, they will catch the rhythm and play back the blues. They will take to classical as well and lull you with the melodious music of Mozart or stagger you with the majesty and delicacy of Bethoven's Fifth Symphony. Their dexterity with a wide range of music is indeed a very endearing quality.
Limitations
The KANs set the music upfront using the rear wall as their musical canvas. They bring the venue to your listening space. Others, like the LS3/5a, Sound Dynamics 300Ti and Martin-Logan Aeruis, take a different path. They take you to the musical event by allowing you to peer into venue. Both approaches attempt to bring you closer to the sound, and both are musically enjoyable. What is the difference? It is one of soundstage depth. With the former, the soundstage depth extends about a foot from the front of the enclosure to the rear wall. This is not a lot of depth. The soundstage looks like a triangle with a short height. This inhibits one from establishing the distance and placement of the rows of players within the orchestra.
Which is musically valid? In my opinion, the path taken by the LS3/5a et al is musically valid because it portrays a more authentic picture of the venue. BUT it must be emphatically noted that the KANs are especially designed for close to the wall placement. The others require breathing room at the back to be musical. In this regard, one must choose the proper instrument for the application.
Conclusion
The KANs, given their design philosophy and performance, are ideal for use in small rooms where space is at a premium. These speakers, since they require close to the wall placement, do not need the breathing space mandated by most of its competitors. The KANs are dynamic, revealing, and a joy to listen to with a wide range of music. They can surprise you with their big speaker sound and wallop. They are short on depth but generous with the music, hence I am giving them two clefs. I can understand why some reviewers would rave about these speakers. The KANs sell for around $300-$400 in the used market, and are a worthy competitor of the LS3/5a.
by Rome Castellanes
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